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An Impressive Scope of TopicsSandra Bermann & Catherine Porter, eds. 2014. A Companion to Translation Studies. West Sussex: John Wiley and Sons, Ltd. 654 pp. ISBN: 978-0-470-67189-4

DOI: 10.21066/carcl.libri.2017-06(01).0006

A Companion to Translation Studies, edited by Sandra Bermann and Catherine Porter, belongs to a growing number of recently published compendium-type works in translation studies. For example, Jeremy Munday’s The Routledge Companion to Translation Studies (2009), The Oxford Handbook of Translation Studies (2011), edited by Kirsten Malmkjær and Kevin Windle, Routledge Encyclopedia of Translation Studies, first published in 1998, and issued in an updated version edited by Mona Baker and Gabriela Saldanha in 2009, Lawrence Venuti’s The Translation Studies Reader, first published in 2000 and now in its third edition (2012), A Companion to Translation Studies, edited by Piotr Kuhiwczak and Karin Littau (2007), to name just a few. The relatively frequent recent production of such large compendia is an indication of the need for translation studies scholars to systematise the current state of affairs in this fast-growing field, characterised by a multiplicity of approaches, methodologies and research topics. The multiplicity and heterogeneity of approaches, methodologies and paradigms are not surprising in this “vastly complex field with many far-reaching ramifications”, as described by Susan Bassnett in Translation Studies (1991: 1), which has since its inception in the 1960s and 1970s attracted a large number of scholars from diverse humanistic and social sciences backgrounds.

A Companion to Translation Studies comprises forty-five chapters taking up 612 of its 654 pages. The sheer size of the book is matched by an impressive scope of topics ranging from machine translation and localisation to self-translation, pseudotranslation and intralingual translation. However, we should point out that in this companion there is a clear prevalence of comparative literature focus, which comes as no surprise given the academic and research background of its editors. Sandra Bermann is the Cotsen Professor of the Humanities and Professor of Comparative Literature at Princeton University. Her research and writing both focus on poetry, translation, and literary theory. She served as President of the American Comparative Literature Association from 2007 to 2009. Catherine Porter is currently professor emerita of French at the State University of New York at Cortland. Her professional biography includes a large number of translations of scholarly works from eminent French theoreticians/philosophers, such as Jacques Derrida and Michel Foucault.

The book is divided into three large parts: Part I – “Approaches to Translation”, Part II – “Translation in a Global Context”, and Part III – “Genres of Translation”, which are further divided into subsections. The book contains an index and each chapter is accompanied with a Notes and References section and an elaborate Further Reading list. In the Introduction, the editors list an impressively big number of research questions tackled in the collected essays: the role translation has played in specific political and religious structures in the past and the role it plays today, the methods of studying oral translations, the role translation may play in the performativity of gendered and “queer” identities, the ethics of translation, the role of various agents in the production of a translation.

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With regard to the complex roles of translation, particular emphasis is placed on colonial and postcolonial situations (“What Is Special about Postcolonial Translation” by Ben Conisbee Baer, “Postcolonial Issues in Translation: The African Context” by Kathryn Batchelor and “Postcolonial Issues: Translating Testimony, Arbitrating Justice” by Christi A. Merrill, and “Translating the Sacred: Colonial Constructions and Postcolonial Perspectives” by Hephzibah Israel). Indeed, one of the main strengths of this Companion is its tendency to move from the long-dominant Eurocentric perspective. Thus, Bermann and Porter emphasise in the Introduction that “translation theory is increasingly attentive to geolinguistic diversity” (10) and conclude: “Particularly conscious of the widening context of translation studies, this Companion attempts to situate the field in a broad geolinguistic and historical space” (10). This striving is evident from a large number of essays concerned with translation practices in Asia (“Translation as Intercultural Communication: Views from the Chinese Discourse on Translation” by Martha P.Y. Cheung, “Worlds Without Translation: Premodern East Asia and the Power of Character Strips” by Wiebke Denecke, “A Crisis of Translation: Early European Encounters with Japan” by Valerie Henitiuk, “Translating Japanese into Japanese: Bibliographic Translation from Woodblock to Moveable Type” by Michael Emmerich), and Africa (“Postcolonial Issues in Translation: The African Context” by Kathryn Batchelor).

Contributions in Part I (“Approaches to Translation”) are divided into three categories: “Histories and Theories”, “Methodologies”, and “Technologies”. Openness to new research topics and areas is clearly demonstrated in the organisation of Part I, where contributions on histories and theories and methodologies (well-established research topics) are accompanied with a newly emergent domain that affects both the practice of translators and the theoretical considerations of translational phenomena: technologies.

Owing to the scope of the Companion, both in terms of the number of chapters and the breadth of topics covered, it would be unrealistic to attempt to provide a thorough overview of all chapters. It should also be noted that not all contributions provide equally comprehensive and theoretically founded insights. Some of them do not go beyond interesting case studies, lacking broader perspective. Therefore, we focus rather on those chapters that might be particularly inspiring for students and scholars working in the Croatian context.

In “The Changing Landscape of Translation and Interpreting Studies”, Mona Baker focuses on some concerns that gained particular attention in the 1990s and the early 21st century, such as the position of minority languages in the globalised world, in which, as Michael Cronin (2003) points out in Translation and Globalization, “all other languages than English have become minority languages” (17). Baker points to the research topics arising from the hegemonic position of English in the globalised world, such as the dominant position of English in the publishing industry and the media. On the other hand, resistance to the globalised conglomerates has opened new avenues for research. As for future directions, Baker claims that the issues of ethics and trust are gaining attention and are expected to occupy a more central position within the discipline.

A particularly interesting chapter in the “Methodologies” is “The Sociology of Translation” by Gisèle Sapiro (France), Professor of Sociology at the École des hautes études en sciences sociales and Research Director at the CESSP (Centre européen de sociologie et de science politique). An overview of the well-trodden research paths within

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the domain of the sociology of translation (the sociology of professions, the sociology of culture, the study of international exchanges, social functions and fields) is supplemented with suggestions for bringing an innovative perspective to the sociological approach to translation. For example, the familiar fact that the observation of translation flows among languages confirms the dominance of the English language as a source language in the era of globalisation is cast in a different light when “the social functions of translation in different fields” are taken into account (86). German dominance over English in the translations of philosophical works, as stated earlier by Gisèle Sapiro in her paper “Translation and the Field of Publishing: A Commentary on Pierre Bourdieu’s ‘A Conservative Revolution in Publishing’ from a Translation Perspective” (2008), indicates that the social functions of translation in different fields influence the choice of the source language. The application of Bourdieuesque analysis of the “field of publishing” divided into the pole of large-scale market-ruled production and the pole of small-scale production, informed by aesthetic, nation-promoting and intellectual considerations brings about useful insights into the generally accepted notions of asymmetrical relations of cultural exchange: linguistic diversity is very high at the pole of small-scale circulation. This leads Sapiro to conclude: “Though globalization has reinforced the economic constraints that the pole of large-scale production imposes upon the pole of small-scale production, nation-states still play a crucial role in the world market of translation by providing financial aid for the ‘exportation’ of national book production in translation and, in some cases, like that of France, also for the importation of foreign literary and scholarly works” (88). Another potentially productive suggestion is a call to undertake further research “in order to bridge the gap between the sociology of translation and the study of norms and practices of translation” (91).

Şehnaz Tahir Gürçağlar’s essay “Pseudotranslation on the Margin of Fact and Fiction” brings up the topic of pseudotranslations, i.e. “texts which have been presented as translations with no corresponding source texts in other languages ever having existed”, as defined by Gideon Toury in Descriptive Translation Studies and Beyond (1995: 40). The essay provides an interesting case study of a Swedish pseudotranslation, titled Vinden vänder vid Bosporen, En Enkel Turks Dagbok, and its German and French editions by Hanna Hindbeck, which reveals the multiple motives behind pseudotranslations. Hindbeck’s novel, which pretended to be the autobiography of a Turkish police officer in the final years of the Ottoman Empire, was published more or less simultaneously in a German and a Swedish version in 1935. It was followed by a French translation and enjoyed popularity, while its status as a pseudotranslation came to light in as late as 2003.

In “Translated Literature and the Role of the Reader”, Brian James Baer takes up Barthes’ notion of “readerly” texts to apply it to various types of strategies typically developed by readers in authoritative regimes, placing particular emphasis on translated texts. The strategies discussed include “reading between”, i.e. constructing alternative interpretations, “reading among”, i.e. creating interpretative communities engaged in the unofficial production, circulation, and interpretation of censored works, and “reading against”, producing competing or alternative translations of the same source text. With regard to “reading between”, Baer quotes concrete examples from Lev Loseff’s (1984) study On the Beneficence of Censorship related to censorship in Soviet Russia. Russian translators developed particular strategies in order to build “a system of screens and cues to

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shield ‘alternative’ interpretations from the censor while encouraging sympathetic readers to make those interpretations”. An interesting example is translations by a Russian poet who served in the Gulag and “inserted prison slang into his translations, inscribing his own experience on the textual surface of the translation” (338).

To conclude, A Companion to Translation Studies is a highly valuable recent contribution to the field of translation studies, which provides a broad audience with a comprehensive and excellent overview both of major issues discussed within the discipline and of the most recent trends in research. In addition, as its editors point out, it is conceived as a handbook that will be useful to students, with both theoretical and practical interest in translation, including those interested in translations of children’s literature.

Snježana Veselica Majhut

Picturebooks and Little ThinkersMary Roche. 2015. Developing Children’s Critical Thinking through Picturebooks. Abingdon: Routledge. 195 pp. ISBN 978-0-415-72768-6

DOI: 10.21066/carcl.libri.2017-06(01).0007

Developing Children’s Critical Thinking through Picturebooks provides an interesting insight into how to use picturebooks as a tool for developing critical thinking from a young age. It is a perfect combination of theoretical background and practical advice to help teachers and parents, among others, to think about their own approach to analysing any material to be used with students or children.

The book is written by Mary Roche, an Irish teacher and researcher with a particular interest in critical thinking and literature. It is the result of her lifelong devotion to reading and thinking about reading. Throughout this book, the reader feels her passion and the rich experience she has in this field.

As the author says, the book itself is aimed at classroom teachers, future teachers, literacy students, parents, and all those who are interested in promoting critical thinking and raising it to a higher level from a young age. The language used in the book is easily understood and is therefore accessible to all the previously mentioned audiences. The author herself emphasises that the book does not provide a simple recipe that the reader can follow when analysing picturebooks. However, it guides the reader and provides advice on how to improve “book talk”. Many examples from the author’s own practice play a crucial role in understanding her approach, and help the reader in improving his or her own practice in this area.

The book is divided into two main sections, a theoretical and practical one, which are sometimes intertwined due to the fact that you simply cannot have one without the other. The book in general is divided into eight equally important chapters.

The introductory part of this book is well organised and provides an enjoyable welcome. It explains why this book was written, briefly describes the relevant experience of the author, and explains in detail the structure of the book. The reader certainly knows what to expect and feels equipped to start.

The first chapter (“Critical thinking and book talk”) provides a short outline of what critical thinking is, why it is important, and what is needed to develop it. It also dwells upon

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some problems in education connected with literacy and critical thinking, and emphasises how important it is to overcome these hurdles.

The focus then moves to the basic difference between comprehension and meaning making, both of which are clearly defined. In the second chapter (“Comprehension and meaning making”) we also learn something new about different perspectives on literacy and what they have to do with ideology in general. A powerful illustration is also given of how we can learn from each other when reading picturebooks: in the chosen example, children found details in a picturebook that was being read to them which escaped adults’ attention. The adults were surprised when they were directed towards these details. This demonstrates how we, as teachers or parents, often neglect some information to which children can often open our eyes.

In the next chapter, “Interactive, or dialogic, reading aloud”, the author expounds on interactive reading, reading aloud, and intertextuality, and their importance. She also lists the benefits of engaging with literature, including the potential to go beyond lived knowledge and experience, the gaining of a deeper connection with one’s cultural and historical heritage, and the development of one’s aesthetic sense. At the end of this chapter, there is a lovely example from Roche’s practice which shows how eagerly children participate in this kind of discussion, and how they often remember this experience throughout their life.

“A focus on oral language development” celebrates the development of language as a result of reading and discussion. This chapter draws attention to the fact that the more we read or are read to, the more we expand our vocabulary and the ways to express ourselves. Teachers are therefore crucial when it comes to vocabulary development as some children are not read to at home from an early age. Roche uses many experiences from her own research to prove her point. One enlightening example is where the author mentions three picturebooks suitable for a specific age, and gives a detailed guide on what to expect regarding the range of language experience.

The next chapter, “Some picturebook theory”, discusses what picturebooks actually are and why they are so special, and includes titles of high-quality picturebooks: some are examples of metafiction, while others exploit irony or exemplify intertextuality. If you are not familiar with some of these terms, fear not, Roche explains them very well. In this chapter you will also discover how picturebooks are connected with semiotics and advertising, and how aesthetic appeal works on children.

Chapter six, entitled “CT [critical thinking] & BT [book talk] in the classroom”, replaces theory with many examples from Roche’s practice, and brings the reader directly to the centre of the action – the classroom. It contains a set of case studies that demonstrate how children “breathe”. The main actors in this fascinating chapter are primary-school students of various age groups. Roche focuses on her students’ observations and her own observations of them, and gives good advice on how to improve book talk and avoid potential problems.

Chapter seven is reserved for all kinds of practical advice, from choosing the right books, setting up discussions, introducing children to CT and BT and setting the necessary ground rules, to evaluating and assessing pupils’ work, reflecting on previous work, and even cross-curricular work. All the relevant aspects are comprehensively covered.

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The last chapter draws the conclusion. It sums up the bookʼs main ideas, and emphasises the key theoretical background and advice on how to use picturebooks to promote critical thinking. It highlights the importance of reading and thinking about one’s reading, in light of its importance in life in general. A useful appendix follows, providing a list of recommended picturebooks arranged by topic. Those new to teaching or to picturebooks will find this particularly appealing.

In sum, the effect of the book is that the reader feels inspired and ready to get down to the business of developing children’s critical thinking through picturebooks. Roche’s lucid writing style makes the subject easy to understand, and the numerous examples and advice encourage the reader to take on board the concepts that are expounded in this engaging and accessible book.

Željka Gosarić

Getting It Right from the StartJanice Bland, ed. 2015. Teaching English to Young Learners: Critical Issues in Language Teaching with 3–12 Year Olds. London: Bloomsbury. 293 pp. ISBN 978-1-4725-8856-2

DOI: 10.21066/carcl.libri.2017-06(01).0008

The gradual establishment of English as a global lingua franca of sorts has (among other things) led not only to the inclusion of English language (EL) classes into school curricula, but in recent years also to the slow but steady lowering of the age at which foreign language instruction is first introduced to students. The attitude that (when it comes to foreign language learning) younger is necessarily better has, for the most part, been uncritically accepted, resulting in a worldwide trend of early primary, and especially pre-primary language learning programmes. While the term “young learner” (YL) has therefore been significantly expanded, its newest component, pre-primary learners (age 3–6), is not always recognised as a separate group with its own specific needs and learning style. As such, it is still largely overlooked in both theory (a dearth of research on the subject), and practice. Teachers of English for young learners (EYL) often receive little to no special training to meet the specific needs of (pre-)primary learners (who, having “no immediate need to use English and therefore no need to learn it”, are highly dependent on teachers; 279) and they lack appropriate resources, and even motivation.

Aimed at addressing some of the problematic points outlined above, the edited volume Teaching English to Young Learners: Critical Issues in Language Teaching with 3–12 Year Olds brings together fifteen contributions written by experts from France, Germany, Portugal, Sweden, and the UK, who discuss a variety of theoretical and practical issues related to YLs, their specific needs, interests, and learning styles. At the helm of this praiseworthy and timely project is editor Janice Bland, Deputy Chair of TEFL at the University of Münster. As co-editor of the Children’s Literature in English Language Education journal, and author/co-editor of several titles dedicated to English language learning, such as Children’s Literature and Learner Empowerment: Children and Teenagers in English Language Education (2013) and Children’s Literature in Second Language Education (co-edited with Christiane Lütge, 2013), Bland – who also authored three papers in the volume – seems ideally suited to broach the issue of EYL.

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As a whole, the volume promotes a holistic approach to learning, which is seen “as a major opportunity for the widening of children’s horizons” (2). The contributors continuously emphasise that its aim should be to develop not only linguistic, but social, communicative, and (especially) intercultural competences as well. Approaching the central topic from many diverse angles, individual chapters tackle different aspects of EYL, from the use of poetry, drama and storytelling in the classroom, to assessment and teaching materials, while providing detailed and informative theoretical backgrounds and overviews of relevant scholarly literature, along with extensive reference lists. In addition to exploring areas that have previously been established as being of particular interest for EYL teachers and scholars, the contributions in the volume address numerous new, emerging topics as well, such as immersion teaching and teaching English to pre-primary students. The multiplicity of theoretical perspectives (linguistics, education, psychology, literary studies, anthropology, and sociology) is complemented by the diversity of methodological approaches, such as teaching observation, and empirical and action research.

In addition to informed theoretical musings which provide a valuable addition to the wider academic discussion, the majority of contributions also describe a variety of useful teaching techniques, and provide practical suggestions for creative and stimulating activities, described clearly and in great detail, which will be especially useful for teachers and students/teacher trainees. The volume will consequently be of use and interest to academics and practitioners alike. Another advantage is the international perspective fostered throughout the book, as the majority of contributions provide insights into education systems in general, and English teaching practices in particular, in different countries, such as Canada, Indonesia, and Croatia.

The chapters themselves are preceded by a list of contributors, a brief Foreword by the President of the International Association of Teachers of English as a Foreign Language Carol Read, and an Introduction by editor Janice Bland, and bookended by an index. The opening contribution by Janet Enever provides an informed and highly informative discussion on the (dis)advantages of lowering the age for language learning, and examines the reasons behind this pervasive trend. Picking up Eneverʼs thematic thread, Shelagh Rixon shifts the focus from the learner to the language. Analysing the results of a British Council survey, the author questions the status of English as a global language, as well as the often uncritical claims that younger is necessarily better.

In the first of her two contributions to this volume, Sandie Mourão focuses on teaching English to pre-primary learners, an area of EYL often ignored by policymakers, and proposes the concept of a special English learning area that would contain relevant resources, help integrate English into the rest of the pre-primary schedule, and promote child-initiated play. Highlighting the interdependence of the verbal and visual in picturebooks, Mourãoʼs second paper promotes their use in the foreign language classroom. The author challenges two commonly held beliefs – that picturebooks should only be used with very young learners, and that the only picturebooks suitable for classroom use are those featuring a simpler type of word-picture dynamic (e.g. Eric Carle’s The Very Hungry Caterpillar) – proposing instead the use of more complex picturebooks suited for a wide range of age groups, such as Chris Raschka’s Yo! Yes? and Emily Gravett’s Wolves.

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Kristin Kersten and Andreas Rohde analyse the results of a systematic evaluation of immersion programmes worldwide. The benefits of immersion programmes (explored within the Canadian context) are discussed, as are the practical and methodological issues related to their implementation. Finally, the authors bemoan the fact that, despite its many benefits and years of successful application worldwide, immersion remains an exception among foreign language teaching programmes. Content and Language Integrated Learning (CLIL) is the topic of the contribution by Kay Bentley. The author describes several European CLIL scenarios (Austria, Italy, Spain), examines key CLIL issues (particularly planning and assessment), and provides some critical reflection on course books and other teaching materials purporting to provide CLIL.

The contribution by Annamaria Pinter begins by drawing attention to the relative dearth of research on task-based learning with children (the majority of existing literature focuses on adult learners), and proceeds to discuss both the difficulties and benefits of task-based learning, and the means of its incorporation into the EL classroom. In her paper on formulaic language, Saskia Kersten points out that much of early language learning consists of memorising large numbers of nouns, but not always the means of connecting them into larger meaningful units. As a possible means of countering this difficulty, the author proposes the use of formulaic language which, she claims, “will give [YLs] the building blocks to express themselves quite fluently even in the early stages of their L2 development, hopefully leading to an increase in motivation” (142). The story of Little Red Riding Hood is used to provide examples and ideas for incorporating formulaic languages into the EL classroom, and using it with different learning objectives in mind. The three contributions by Janice Bland all discuss the implementation of some aspect of children’s literature – poetry, oral storytelling, and drama – into the classroom, and provide numerous practical ideas for classroom projects, from nursery rhymes and contemporary children’s poetry (e.g. Michael Rosen), through “The Three Billy Goats Gruff” (used to illustrate the nine steps of storytelling lessons), to scripted and unscripted drama.

Even though the majority of teachers recognise intercultural skills and knowledge as a key component of foreign language learning, Patricia Driscoll and Helen Simpson’s contribution shows they remain highly marginalised in practice. The authors also present the case for early intercultural learning which, they claim, promotes a heightened appreciation of one’s own and other cultures. To examine the (dis)advantages of using new technologies in the foreign language classroom, Euline Cutrim Schmid and Shona Whyte analyse a tandem project between young French and German learners involving the use of an interactive whiteboard during videoconferencing. Carmen Becker explores the portfolio – specifically, the European Language Portfolio – as an alternative mode of evaluation: its development, documentation and pedagogic functions, as well as its potential to increase learners’ motivation and enthusiasm for learning. The volume closes with Brian Tomlinson’s contribution on developing principled materials. Arguing for the consideration of both local and universal principled criteria in developing materials for the EL classroom, the author provides examples of principled material use in Vanuatu, Indonesia, and China, and discusses criteria for evaluating materials development.

The editor should especially be commended for the skilful way in which the book is organised. Each paper builds on the preceding one, contributing to a continuous and dynamic

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overarching dialogue. The accessible language, clear and comprehensible argumentation, tackling of timely subjects, and inclusion of numerous practical suggestions are likely to ensure a wide readership for this edited volume, one that will include students, future and current teachers, scholars, parents, and anyone interested in the latest developments in EYL.

Nada Kujundžić

Girlhood History in Book Series LuElla D’Amico, ed. 2016. Girls’ Series Fiction and American Popular Culture. London: Lexington Books. 297 pp. ISBN 978-1-4985-1762-1

DOI: 10.21066/carcl.libri.2017-06(01).0009

Girls’ Series Fiction and American Popular Culture is the first title in a series of books called Children and Youth in Popular Culture, which features works that reflect on the different ways in which children and young people are portrayed in popular culture. This is an international series which recognises how literature that features children and young people shapes readers. The main topics in the book range from gender, race, and class to religion, law, and other themes.

The editor, LuElla DʼAmico, is Assistant Professor of English and Director of the Womenʼs and Gender Studies program at Whitworth University in Washington. She specialises in early and nineteenth-century American literature, with special focus on girlhood studies, women’s writing, and young adult fiction – all themes that this book explores.

This book is an edited volume which examines changes in the characters of young women in American popular culture during the last 150 years. The authors focus on book series, an important part of American history, which had a particular effect on young girls. The introductory section of the book posits that book series helped young American women define how they wanted people to perceive them and assisted them in grasping the cultural demands put upon them.

Divided into fourteen chronologically organised chapters, the volume incorporates series such as Katy, Five Little Peppers, Nancy Drew, Trixie Belden, Betsy-Tacy, The Baby-Sitters Club, ending with chapters about the Vampire Academy series and Pretty Little Liars. The chronological organisation helps the reader see the evolution of young American girlhood through popular book series, and splendidly shows the aim of this collection, which is to offer the reader both a historical context and an analysis of the girls’ series genre.

The volume starts with Marlowe Daly-Galeanoʼs contribution “Louisa May Alcott’s Theater of Time”. Although it is said here that the publishing of Louisa M. Alcott’s Little Women in 1868 was a defining moment for girls’ book series in gaining recognition, the character of Nancy Drew, a girl sleuth, is referred to by many authors in their chapters. Nancy Drew is said to be a perfect character in terms of moral identity, with no need to change or grow in any way. Characters such as Trixie Belden (Michael G. Corneliusʼ “Nancy Drew’s Shadow: Trixie Belden and a Case for Imperfection”; Carolyn Coccaʼs “The Bob-Whites of the Belden-Wheeler Detective Agency: Gender, Class, and Race in the Trixie Belden Series, 1948–1986”; Nichole Bogaroshʼs “Nancy Drew and Trixie Belden: Girl Detectives, Role Models, and Feminist Icons”) show young girls that growth and change are important in reaching oneʼs final destination in life. The character of Trixie Belden also serves to

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show that being a tomboy, or being intelligent and independent, is something to be proud of, which was one of the goals of second-wave feminists. Trixie Belden is important to put an end to the message that women are just sexual objects, which had consistently been promoted by the media. In the chapter “The Value of Girl Labor in the Five Little Peppers Book Series”, Christiane E. Farnan writes about how the work ethic was used in the series to measure the value of a girl, by placing hard-working girls at the top of the hierarchy. This instils in young girls the idea that hard work is important and will pay off. Another chapter which encourages young girls to contemplate their status in society is Paige Gray’s “A Spectacle of Girls: L. Frank Baum, Women Reporters, and the Man Behind the Screen in Early Twentieth-Century America”, which argues that Baum’s series The Wonderful Wizard of Oz and Aunt Jane’s Nieces challenged the gender ideology of the early twentieth century by exploring women’s position and their roles in their public and private lives.

Another topic the book touches upon is disability. In Eva Lupold’s chapter about the Katy series, the author writes about how the theme of disability was used to both promote heteronormative plots and disrupt conceptions of beauty, while emotional behaviour was equal to queerness and unsustainability. Further, she argues that talking about emotions is crucial to understand the relationship between disability and girls in series fiction.

The chapters “Female Heroines and Third-Wave Feminism in the Vampire Academy Series” by Janine J. Darragh and “Pretty Little Liars and Their Pretty Little Devices” by Grace Halden discuss young girls and women who represent many cultural backgrounds and break stereotypical gender roles, an objective of third-wave feminists. These series tell young girls that it is acceptable to have multiple emotions and desires, which sometimes might be contradictory, and that today’s women can be whatever they want to be. Previous series had been influenced by second-wave feminism, seen in the tendency to show the importance of fighting for equality and political rights. The influence of second-wave feminism, which showed that women have the same rights as men, is seen in the fact that girls become main characters and are shown doing the same things as boys, thus disrupting traditional gender roles. The Vampire Academy series expands on this to include women of all ethnicities, orientations, economic statuses, etc. In Grace Halden’s chapter about the Pretty Little Liars series, we are introduced to technology used as a bullying device. Pretty Little Liars tackles issues such as anxiety, insecurities about body image and grades, all vital parts of girls’ lives today.

This well-researched volume provides an insightful and informative look into a part of the history of girls’ series in American popular culture. It is well-structured and organised to help the reader understand the subject. This book has much to recommend it to its readers, especially teachers and students who want to inform themselves about series for young girls and boys, and the messages they provide. What adds to the success of this book is that it covers a wide range of girls’ series and offers a look into the progress of women’s rights, as well as a view into the popular culture of the last century. This volume also manages to connect characters from different series and draw comparisons between them, which contributes to developing a new and educational perspective on girls’ series.

Kristina Zirdum

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Magic as Power and (Self-)KnowledgeJack Zipes, ed. 2017. The Sorcererʼs Apprentice: An Anthology of Magical Tales. Illustrated by Natalie Frank. Princeton & Oxford: Princeton University Press, 480 pp. ISBN 978-0-691-17265-1

DOI: 10.21066/carcl.libri.2017-06(01).0010

In the minds of most people, the words “sorcererʼs apprentice” are most likely to conjure up the image of Mickey Mouse donning a pointy blue hat and trying desperately to control a legion of animate brooms. While the animated sequence starring the affable rodent from the Walt Disney Animation Studioʼs Fantasia (1940) may be their most recognisable and popular incarnation, tales featuring the conflict between an elderly sorcerer and the novice he typically exploits – classified in the Aarne-Thompson-Uther Tale Type Index as ATU 325. “The Magician and His Pupil”, and ATU 325*. “The Sorcererʼs Apprentice” (previously “Apprentice and Ghost”) – have for centuries enjoyed sustained popularity, and been transmitted across cultures, languages, and media.

Edited by the prominent fairy tale scholar Jack Zipes, the anthology The Sorcererʼs Apprentice brings together more than fifty international and intercultural variants of the above-mentioned tale types, penned/recorded by a plethora of writers/collectors, and originating in different time periods (ranging from the beginning of the 1st to the end of the 20th century) and countries. It should be noted that Zipes uses the syntagm “Sorcererʼs Apprentice” tales as an umbrella term for both ATU 325 and 325*, which are given new names that better reflect their thematic preoccupations: “The Sorcererʼs Rebellious Apprentice” and “The Sorcererʼs Humiliated Apprentice”, respectively.

The protagonist of the conservative “Humiliated Apprentice” stories is typically ineffectual, as his attempts to wield magic always lead to catastrophic results, thus confirming the sorcererʼs authority and sway over him. In contrast, the radical “Rebellious Apprentice” tales feature protagonists who utilise their magical (especially transformative) skills to break free from enslavement, and, having defeated their tyrannical masters, become emancipated. The two types of tales express opposing views on authority, childism (prejudice and/or discrimination against children), and power relations, with the former fostering “authoritarianism and enslavement”, and the latter “empowerment and self-awareness” (xiv). Zipes identifies another distinct group of tales within the “Rebellious Apprentice” tradition, which he terms the Krabat tales (after the main protagonist). Emerging in Sorbia (Lusatia), the Krabat tales follow the exploits of an impoverished young man who learns enough magic to defeat an evil sorcerer.

The tireless Zipes, who recently published The Original Folk and Fairy Tales of the Brothers Grimm: The Complete First Edition (editor and translator, 2014), Grimm Legacies (2015), and Fairy-Tale Films Beyond Disney: International Perspectives (co-editor with Pauline Greenhill and Kendra Magnus-Johnston, 2016), ascribes his lasting fascination with the “Sorcererʼs Apprentice” tales – particularly the “Rebellious Apprentice” strand – to the fact that they gave him “some signs of hope when it seemed that we were living in hopeless times”, by providing “examples of opposition and resistance to wicked sorcerers of all kinds, who exploit magic for their own gain, and of the ways magic can enlighten readers about oppressive conditions under which they live” (xi). The appeal of the tales further lies

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in their positive representation of magic – portrayed as a means of self-emancipation and empowerment, as well as acquiring (self-)knowledge – the depiction of what Zipes terms “the ʻslaveʼs perspectiveʼ, a voice and view from below” (xiii), and subversion of authority and existing power relations (and, by extension, the status quo in general). Finally, the fact that they address a number of present-day concerns, such as childism, (child)abuse and exploitation, and misuse of power, lends the stories a contemporary relevance, making the anthology as a whole all the more timely and welcome.

The stories included in the anthology are organised into three thematic parts: “The Humiliated Apprentice Tales” (13 tales), “The Rebellious Apprentice Tales” (35 tales), and the “Krabat Tales” (eight tales). Individual thematic parts are organised chronologically, with the first two parts further divided into three sub-sections: “Early Tales”, “Nineteenth-Century Tales”, and “Twentieth-Century Tales”. The stories are complemented by twenty black-and-white illustrations by American artist Natalie Frank, who previously selected and illustrated thirty-six lesser-known fairy tales by the Brothers Grimm (Tales of the Brothers Grimm, 2015, edited by Karen Marta and with an introduction by Jack Zipes). The tales are preceded by a preface, notes and acknowledgements, and an introduction by the editor, and followed by the biographies of authors, collectors, editors and translators, a filmography and bibliography, a chronological list of tales, and an index.

Zipesʼ lengthy critical introduction, entitled “The Sorcererʼs Apprentice, Harry Potter, and Why Magic Matters”, discusses the tale type in focus, its sub-types, their meaning and popular (cinematic, literary) retellings, and the role of magic as a tool of resistance against authority. The text opens with a brief analysis of J.K. Rowlingʼs Harry Potter books. Baffled by the dazzling success of what he considers to be little more than “a conventional series of fantasy novels” (1), Zipes eventually concludes that Harry Potter owes much of its popularity to its folklore sources, most notably the “Sorcererʼs Apprentice” tales, and their omnipresence as “memetic stories in cultural memories” (6).

Explorations of the origins, historical and cross-cultural transformations, and meaning of the main sub-types of the “Sorcererʼs Apprentice” are followed by a discussion on G.W.F. Hegelʼs master-slave dialectic, and Theodor Adornoʼs negative dialectics. Building on Elisabeth Young-Bruehlʼs theories presented in her study Childism: Confronting Prejudice against Children (2013), the following section examines contemporary relationships between teachers, parents, and other “sorcerers” on the one hand, and children (“apprentices”) on the other.

The next section provides an overview of cinematic versions of the “Sorcererʼs Apprentice” tales, ranging from European adaptations of the Krabat tales, such as Celino Bleiweissʼs Die schwarze Mühle [The Black Mill] 1975, to Hollywood blockbusters such as Jon Turteltaubʼs action-packed The Sorcererʼs Apprentice (2010), featuring the incomparable Nicolas Cage in the role of the sorcerer-mentor. The final section in the introduction turns to literary works inspired by the “Sorcererʼs Apprentice” tales, published in anglophone countries since the 1940s. Particularly interesting in this section are Zipesʼ observations about a clear division between books aimed at children, which typically have a strong didactic strain and follow the “Humiliated Apprentice” plot, and those intended for (young) adults, which are typically written in the “Rebellious Apprentice” vein. As Zipes demonstrates, the decisive factor in integrating the “Humiliated Apprentice” into

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childrenʼs literature was its animated Disney version (and the proliferation of picturebooks it inspired), which “ʻinfantilize[d]ʼ the tale type” (16) by turning it into a cautionary tale about the importance of obeying authority.

While by no means exhaustive (nor purporting to be), the richly varied anthology – yet another testament to Zipesʼ abilities as researcher, editor, writer, and translator (the majority of translations from German, Italian, and French are his) – is sure to generate interest in this tale type, and become a springboard for future scholarly outings into this stimulating and fairly unexplored field. Zipesʼ prose is characteristically fluent, comprehensible, and oftentimes even conversational (“Hmm, this might make for a Harry Potter novel!”, 63), which makes it accessible to a wide readership. This thought-provoking and visually appealing book is likely to acquire most devotees among folklorists, fairy-tale scholars, students (the variety and organisation of the materials make it especially suited for classroom use), and story-lovers at large, who are sure to enjoy these tales that “make us aware that magic matters, no matter what its substance may be, no matter what form it takes” (7).

Nada Kujundžić

Confronting CulturesGiedrė Jankevičiūtė & V. Geetha. 2017. Another History of the Children’s Picture Book: From Soviet Lithuania to India. Chennai, India: Tara Books in association with the Lithuanian Culture Institute. 176 pp. ISBN 978-93-83145-45-4

DOI: 10.21066/carcl.libri.2017-06(01).0011

Unusual combinations such as this will surely provoke many confused looks, since it seems difficult at first to connect terms such as “Soviet Lithuania”, “India” and “children’s picture books”. However, Giedrė Jankevičiūtė and V. Geetha present us with an overview of Soviet children’s picture books and their influence on two different cultures through this exceptional book full of wonderful illustrations. “Taken together, Indian and Lithuanian experiences help us rethink the global culture of the picture book: they focus on developments that are not often recounted in standard picture book histories, or even in scholarly literature” (5).

This compelling book emerged from an exhibition of children’s books from Soviet Lithuania hosted by the publisher, Tara Books, in Chennai. The book is divided into two parts: the first one, entitled “Children’s Picture Books from the Soviet Union: The View from India”, puts the Indian experience with Soviet picture books in the spotlight. The second part focuses on the influence of illustrations in children’s picture books in Soviet Lithuania. Each part is divided into several shorter chapters which concentrate on different aspects of children’s picture books, and their influence on Indian and Lithuanian culture of that period.

The first part begins with a chapter called “The Enduring Appeal of Soviet Children’s Books”. Serving as an introduction, it explains that Soviet picture books were a window into Soviet children’s way of life. Indian children gained the impression that Soviet children had a perfect life – with plenty of opportunities and different clubs offered by the Communist Party of the Soviet Union. What they did not see was the Communist propaganda hidden

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behind appealing words and stunning artwork. After the introductory chapter, the book continues with three short essays (chapters). “Soviet Books for India: A Brief History and Some Reflections” is the title of the second chapter and the first essay mentioned by the authors in the introduction. It deals with the historical connections between the Soviet Union and India, and describes how Soviet books, music and art came to India. One especially interesting experience comes from N. Dharmarajan, who explains the process of translating books from Russian into Tamil. Soviet picture books were often not only translated, but also modified to fit the local context. They became famous in India because they were not only modestly priced, but also available in multiple languages, unlike American and British picture books which were quite expensive and offered only in English. The chapter finishes with a historical overview of the Soviet influence on Indian culture and education. Conveniently, the following chapter is entitled “The Soviet Experiment with Education and Children’s Book Publishing”. It builds on the previous chapter and gives a detailed analysis of the Soviet model of education and children’s book publishing. According to the authors, the Soviet model of education was greatly influenced by the Bolsheviks: “[E]ducation was assigned a transformative role: henceforth, schools would be spaces, of not only learning and instruction, but veritable nurseries for ‘growing’ and nurturing ‘small comrades’” (27). Not only education, but also publishing for children was adapted to the goal of “nurturing small comrades” with topics that fitted the needs of Communist society. The third chapter, “The Soviet Picture Book for Children: Some Thoughts on its History and Aesthetics”, introduces the term ‘New Economic Policy’. Soviet picture books from the New Economic Policy era provided illustrations that promoted movement, energy, dynamics, and excitement. Often, the images were essential to the meaning of the story. The chapter gives a thorough overview of the topics of picture books, their ideologisation, propaganda, and changes reflecting those in the Soviet government and the world from the 1920s to the 1980s. As the concluding chapter of the first part of the book, “The Soviet Example and Indian Concerns” explains why everything mentioned in the previous chapters is of great importance to Indian culture. At the end of the first part, there is a page of selected references.

The second part of the book is called “Children’s Book Illustrations from Soviet Lithuania”. Similar to the previous part, it begins with an introductory chapter that presents the history of Lithuania and its dubious relationship with the Soviet Union (“Art and Publishing in Lithuania: From Independence to Soviet Rule”). Once it became annexed to the Soviet Union, literature and publishing flourished, but with consequences – authors were obliged to obey the State and a lot of their work was censored or marked as “not suitable”. “Children’s Literature in Soviet Lithuania: Response to Socialist Realism” is the next chapter. Most of the books published in the post-war decade had naturalistic artwork with “perfect” Communist children, living in a “perfect” society, as the main characters. This chapter also mentions some famous authors from other nations that were translated into Russian (Charles Dickens, Selma Lagerlöf, Hans Christian Andersen, Mark Twain). Still, Lithuanian children read not only books and picture books, but also periodicals and journals which offered both entertainment and ideology. The richly illustrated text describes in great detail two of them – Genys and Lietuvos pionierius. Another way of influencing the childhood of many Lithuanians was through different clubs, summer camps, institutions

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and schools, which are described at the end of the chapter. The final part of the chapter is dedicated to children’s publisher Aldona Liobytė (1915–1985). In a manner similar to the previous chapters, which describe the development of picture books until the 1950s, the next two chapters focus on the following decades.

“The Dynamic 1960s: New Directions in Children’s Books’ Illustrations” presents the 1960s as the age of modernisation and change. Illustrators of that time started using different means of expression, such as photomontage and colour paper-cuts. Illustrations were the perfect addition to a text and the change in art form and topics through the decades could easily be seen. Even though there was a never-ending battle against the strict censorship imposed by the regime, the old themes remained the same, neatly wrapped into a new, modern design. Besides being influenced by Western countries which brought many new forms of art into Soviet picture books (e.g. Pop Art), the artists decided to rediscover the past through “Primitive Modern” art. The chapter finishes with some thoughts on the impact of illustrations on young readers and the artists themselves. The chapter “Children’s Books’ Illustration in an Era of Stagnation: 1970s and After” presents the 1970s and 1980s as a time of inactivity, in which people drew back into their private lives. Still, the era of stagnation inspired two important developments: the translations of children’s books from Polish, Czech, Finnish and Swedish, and the foundation of Vyturys, a specialist publisher of children’s books in 1985. This chapter also mentions two new illustrators that emerged from the era – Stasys Eidrigevičius and Kęstutis Kasparavičius. The final and shortest chapter of the book is “Postscript from the Past”, which delivers a conclusion on the second part of the book. It deals with the effect of illustrations on people living in Soviet Lithuania at that time. In addition, it offers some engaging illustrations as examples of the importance of Soviet picture books and their art.

From the very first glance, the book is compelling. The front cover illustration and the back cover and endpaper illustrations are borrowed from different picture books mentioned in the book, which perfectly encapsulates the subject. Through such marvellous covers, the authors immediately manage to draw the readers’ interest. The text is very clear, and the facts are presented in detail and supported by illustrations. Even though the book uses specialist terms on occasions, the coherent text and supporting illustrations ensure that it is generally easy to read. I would recommend this book to all types of readers – scholars, teachers, and students interested in this field. The authors can certainly be credited for merging seemingly disparate things, and bringing some of the tough, intriguing past into the present.

Katarina Kokanović

O pripovjednoj slikovnici Smiljana Narančić Kovač. 2015. Jedna priča – dva pripovjedača: slikovnica kao pripovijed. Zagreb: ArTresor naklada. 447 str. ISBN 978-953-8012-04-4

DOI: 10.21066/carcl.libri.2017-06(01).0012

U svojoj knjizi posvećenoj pripovjednoj slikovnici Smiljana Narančić Kovač uvodi nas u detaljno razmatranje slikovnice kao zasebne umjetničke knjige te pokazuje kako je tu naizgled vrlo jednostavnu književnu vrstu ipak potrebno pomnije proučiti i analizirati. Smiljana Narančić Kovač predaje na Učiteljskome fakultetu Sveučilišta u Zagrebu gdje,

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između ostaloga, drži kolegij posvećen slikovnicama na kojem već godinama znanje o njima i ljubav prema njima prenosi na svoje studente. Autorica je već u okviru svojega doktorskoga rada počela podrobno analizirati slikovnice i način na koji donose priču, a knjiga Jedna priča – dva pripovjedača temelji se upravo na njemu. Sadržaj i temelj istraživanja čine suvremene engleske, američke i hrvatske slikovnice među kojima su, primjerice, Rosieʼs Walk Pat Hutchins, Lily Takes a Walk Satoshia Kitamure, Voices in the Park Anthonyja Brownea i Moj put Svjetlana Junakovića.

Teorijska istraživanja slikovnice kao književne vrste započela su u 20. stoljeću, no tek im se u 21. stoljeću počelo pridavati veći značaj. Kada govorimo o istraživanju slikovnica u Hrvatskoj, ono je do danas vrlo slabo razvijena grana znanosti o književnosti o kojoj postoji vrlo malo literature. Narančić Kovač svojim je iscrpnim istraživanjem pripovjedne slikovnice uvelike pridonijela razvoju njezine teorije, a samim time i popularizaciji te umjetničke vrste. Potrebno je naglasiti da je ova knjiga prva monografija na hrvatskome jeziku u potpunosti posvećena istraživanju slikovnice i prva koja ih razmatra s humanističkoga stajališta (raniji radovi bili su uglavnom pedagoški orijentirani). Budući da je predmet studije pripovjedna slikovnica, odnosno ona koja donosi neku vrstu priče, autorica se u prvome redu bavi teorijom pripovijedi (the theory of narrative), postavljajući slikovnicu u njezine okvire. Misao vodilja cijeloga istraživanja pitanje je načina na koji pripovjedna slikovnica posreduje priču. Svojim iscrpnim istraživanjem autorica propitkuje vrlo rašireno stajalište da u slikovnici postoje dvije razdvojene priče, jedna vizualna, druga verbalna, te umjesto toga pokazuje da postoji jedna priča, ali da ju pričaju dva pripovjedača.

Autorica je za svoju knjigu odabrala naslov Jedna priča – dva pripovjedača koji potiče čitateljevo zanimanje za teoriju pripovjedne slikovnice jer daje naslutiti da se radi o posebnoj vrsti pripovijedanja s kojom nije upoznat velik broj ljudi. Knjiga je podijeljena na osam poglavlja u kojima autorica čitatelje postepeno uvodi u svijet pripovjednih slikovnica te im pomoću teorijskih saznanja objašnjava i približava način na koji one funkcioniraju.

U prvome, uvodnome poglavlju Narančić Kovač iznosi ciljeve svojega istraživanja. Ističe dvostruki diskurs, vizualni i verbalni, kao jedno od temeljnih obilježja suvremene slikovnice te naglašava njihovo zajedničko djelovanje u donošenju priče. Također navodi odnos pripovjedača tih dvaju diskursa kao središte zanimanja svoje studije, a kao jednu od njezinih bitnih značajki spominje i analizu pripovjednih perspektiva u slikovnici.

Drugo se poglavlje bavi teorijskim polazištima za analizu slikovnice. Autorica se u toj analizi služi „Genetteovom tipologijom pripovjedača i pripovjednih perspektiva, jer je pregledna, jasna i jednostavno primjenljiva“ (27). U okviru njegove tipologije opisane su vrste pripovijedanja i pripovjedača.

Osnovna tema trećega poglavlja pregled je teorije suvremene slikovnice s naglaskom na načinu na koji ona posreduje značenja. Vrlo zanimljiv dio ovoga poglavlja odnosi se na čitanje slikovnice, pri čemu autorica navodi tri karakteristična aspekta. Prvi se odnosi na prebacivanje čitateljske pozornosti između verbalnoga i slikovnoga diskursa za vrijeme čitanja (autorica objašnjava da čitatelj ne može istodobno pratiti oba diskursa). Drugi je aspekt čitanja interaktivnost koja je u slikovnicama iznimno naglašena zbog njihove složene pripovjedne strukture. Autorica objašnjava pojam interaktivnosti činjenicom da čitatelj sam bira redoslijed kojim će čitati slike i tekst na svakoj stranici. Posljednji je, treći aspekt opetovano čitanje koje je vrlo važno za slikovnice zbog višeznačnosti koje

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nalazimo u njima. Ostatak poglavlja istražuje vrste pripovjedača i pripovjednih perspektiva, ali i čitatelja. Važno je spomenuti i problematiku teorije slikovnice iznesenu na kraju ovoga poglavlja kojom autorica naglašava postojanje dubokoga jaza između teorije pripovijedi i teorije slikovnice.

U četvrtome je poglavlju iznesen teorijski model slikovnice kao pripovijedi. Narančić Kovač se u ovome poglavlju pretežito bavi potkrepljivanjem iznesene teorije primjerima slikovnica te na njima objašnjava načine na koje različiti diskursi zajednički donose priču. Vrlo je detaljno objašnjen i položaj pripovjedača koji je „kao sudionik pripovjedne komunikacije konstanta utoliko što ima nezaobilaznu ulogu u pripovijedi: pripovijeda priču i pritom vrši izbor i organizira pripovjedne informacije“ (136). Time je potvrđena teza o jednoj priči i dvama pripovjedačima, prema kojoj se u slikovnici za svaki diskurs, jezični i slikovni, javlja zaseban pripovjedač.

Pitanje slikovnoga i verbalnoga diskursa još je temeljitije razrađeno u petome poglavlju u kojem autorica detaljno opisuje načine na koje oni djeluju te kako su međusobno povezani. Za svoje spoznaje navodi i konkretne primjere i time omogućuje čitateljima jasno shvaćanje činjenice da različiti diskursi zapravo djeluju u suradnji svojih pripovjedača. Narančić Kovač ističe da „slikovni pripovjedač u svoj diskurs može uključiti jezične aspekte i tako se otvoriti prema jezičnome pripovjedaču, a jezični pripovjedač može uključiti izražene vizualne aspekte i tako načiniti iskorak prema slikovnome pripovjedaču“ (222).

U šestome se poglavlju autorica bavi analizom pojedinih slikovnica i na primjerima objašnjava različite moguće kombinacije pripovjedača jezičnoga i slikovnoga diskursa. Te kombinacije prikazuje vrlo detaljnom i jasnom tablicom, a potom ih analizira i potkrepljuje primjerima. Na kraju poglavlja nalazi se jedan od najzanimljivijih dijelova ovoga istraživanja, a to su rezultati analize pripovjednih slikovnica. Analiza pokazuje da je moguć vrlo velik broj kombinacija obilježja jezičnoga i verbalnoga pripovjedača, a osobito je zanimljivo to što su rezultati i moguće kombinacije potkrijepljeni primjerima konkretnih slikovnica kao što su Zoo Anthonyja Brownea ili Peepo! Janet i Allana Ahlberga. Na taj se način teorija slikovnice približava čitateljima koji u poznatim slikovnicama mogu uočiti i primijeniti teoriju kojom se Narančić Kovač bavi i koju iznosi u svojoj knjizi.

Sedmo se poglavlje bavi povezivanjem teorijskoga modela slikovnice s modelom pripovjedne komunikacije. Model pripovjedne komunikacije u slikovnici autorica je izgradila „modifikacijom Chatmanove sheme pripovjedne transmisije“ (377), a u ovome poglavlju detaljno ga je opisala. Također, u sedmome se poglavlju objašnjavaju i odnosi sudionika pripovjedne komunikacije – pripovjedača i čitatelja. Narančić Kovač ističe da je u slikovnici „čitateljeva uloga dodatno aktivna zbog prebacivanja s pripovjedanika na pripovjedanika“, te naglašava dinamičnost te komunikacije „zbog postojanja dvaju parova pripovjedača i pripovjedanika“ (386).

U završnome dijelu autorica je još jednom potvrdila polaznu tezu o međusobnoj suradnji više pripovjedača u iznošenju jedne priče, istaknula njihovo ispreplitanje i izmjenjivanje i naglasila da se oni u slikovnici nikada potpuno ne stapaju već samo približavaju. Narančić Kovač svoju knjigu završava citatom iz jednoga od najvažnijih djela dječje književnosti, Alice u Zemlji Čudesa Lewisa Carrolla: „ʻ...koja je korist knjige,ʼ pomislila je Alica, ʻbez slika i razgovora?ʼ“ (1865/2007: 1–2), čime ističe da slikovnice imaju velik značaj i posebno mjesto u književnosti.

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Smiljana Narančić Kovač knjigom Jedna priča – dva pripovjedača približava čitateljstvu teoriju slikovnice opisujući ju na detaljan način i potkrepljujući je primjerima. Budući da se slikovnica sve više prepoznaje kao zasebna umjetnost, ovo je istraživanje od iznimne važnosti za razvoj teorije o slikovnicama. Vrlo ju lako mogu razumjeti svi čitatelji – i oni koji se već bave teorijom slikovnice i oni koji ju tek počinju proučavati – stoga je izvrstan odabir za sve poklonike te složene likovno-književne forme.

Dorja Anić

Blistav um i dobro srceIvana Brlić-Mažuranić. 2016. Moji zapisci: dnevnici, memoari, molitve, putni i drugi zapisi. Sabrana djela Ivane Brlić-Mažuranić: ostavština. Sv. 1 (6). Priredio Mato Artuković. Uredio Vinko Brešić. Slavonski Brod: Ogranak Matice hrvatske Slavonski Brod. 494 str. ISBN 978-953-6842-19-3, ISBN 978-953-6842-39-1

DOI: 10.21066/carcl.libri.2017-06(01).0013

Šesti svezak u nizu Sabranih djela Ivane Brlić-Mažuranić urednika Vinka Brešića pod naslovom Moji zapisci donosi sveobuhvatan uvid u spisateljičinu rukopisnu ostavštinu koja je do sada bila manje poznata ili nepoznata čitateljima i istraživačima dječje književnosti. Uz prethodno objavljenih pet svezaka (Svezak 1: Pjesme i priče, Svezak 2: Romani, Svezak 3: Bajke i basne, Svezak 4: Članci (1903. – 1938.) i Svezak 5: Bibliografija), život i djelo spisateljice Ivane Brlić-Mažuranić cjelovito su prikazani besprijekornom znanstvenom objektivnošću i s mnogo brižnosti i odgovornosti prema dragocjenoj ostavštini Ivane Brlić-Mažuranić.

Svezak je priredio Mato Artuković. Sastoji se od dnevničkih zapisa, memoara, molitvi, putnih i drugih zapisa podijeljenih u šest dijelova po kronološkome kriteriju i po kriteriju vrste zapisa. Građa je poduprta nužnim historiografskim referencijama te biranim ilustrativno-dokumentarnim materijalom. Na kraju građe izrađen je vrlo vrijedan rječnik manje poznatih riječi i izraza te su uključena dva kazala: kazalo osobnih imena i kazalo toponima. Svi ti dodatci objašnjavaju pojedine zapise i čine građu jednostavnijom za razumijevanje u spisateljičinome osobnome kontekstu, ali i društveno-povijesnome kontekstu, te time čine cijelu knjigu pristupačnijom i zanimljivom ne samo u znanstvenome smislu, već i šire.

U prvome dijelu knjige preneseni su spisateljičini prvi zapisci, uključujući knjižicu putopisa i pjesama koja je najraniji zapis Ivane Brlić-Mažuranić. Spisateljica bilježi pjesme, prijevode i zabilješke od svoje jedanaeste godine života, kada počinju njezini dnevnički zapisi i putne bilješke s putovanja u Ogulin i putovanja iz Zagreba, preko Slovenije i Rijeke u Novi (13. travnja 1889. – 15. travnja 1889.). Slijede spisateljičine molitve, ispovijedi i vjerska promišljanja. Većina molitvi zapisana je 1891. godine, a dvije su napisane na Uskrs, jedna 1895., a druga 1896. godine. Zabilježen je i nedatirani ulomak zapamćenja iz djetinjstva, koji je vjerojatno nastao prije 1916. godine.

Drugi dio knjige čine dnevnički zapisi iz nekoliko vremenskih perioda: 1888. – 1889., 1889. – 1891., 1911., 1913. i 1918. Spisateljičini dnevnički zapisi isprepliću se s raznim literarnim sadržajima, od kojih su neki zapisani na francuskome, njemačkome ili

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engleskome jeziku. U njima se otkriva spisateljičina sposobnost zapažanja, promišljanja, njezina tankoćutnost i razne druge kvalitete velika uma i dobra srca koje su evidentne već u njezinim ranim djevojačkim godinama.

Literarni i dnevnički zapisi od 1891. do 1936. čine treći dio knjige. Ponovno su preneseni u svojem izvornome obliku, isprepleteni sa spisateljičinim kraćim literarnim radovima, poput pjesama ispjevanih suprugu za polugodišnjicu (18. listopada 1892.) i godišnjicu (18. travnja 1893.) vjenčanja.

Četvrti dio knjige čine „Vinogradski zapisi“ koji su sačinjeni od pet spomenara iz Arhiva obitelji Brlić. Tradiciju bilježenja „spomenica za vinograd Brlićevac“ započeo je dr. Ignjat Brlić, stric dr. Vatroslava Brlića, 4. rujna 1889. godine. Spomenari pružaju uvid u društvo i povijest svakodnevnoga života od 1905., kada datira prvi spisateljičin zapis, do spisateljičine smrti 1938. godine. Posebno zanimljivo i živo opisuju tradicionalne običaje brodskih obitelji koje se sredinom lipnja sele u vinograd i tamo ostaju do polaska djece u školu, što je vrijedilo i za obitelj Ivane Brlić-Mažuranić, koja je u Brlićevcu provodila ljeta od lipnja do listopada.

Zapise, bilješke i pisma od 1907. do 1935., koji čine peti dio knjige, sabrala je sama spisateljica 1935. godine i poredala ih kronološki. Ovdje se nalaze spisateljičine bilješke i komentari na razna društvena i politička zbivanja, poput posjeta mađarskomu parlamentu u prosincu 1907. godine u kojem je zastupnik bio i njezin suprug dr. Vatroslav Brlić, ili dramatična zapisa o državnome prevratu nakon Prvoga svjetskoga rata (zapis od 23. listopada 1918. godine) u kojemu bilježi lokalni razvoj događaja u Brodu na Savi. Posebice su zanimljiva pisma kćerima Zdenki i Nadi u kojima opisuje zasjedanje Lige naroda u Ženevi 1930. i 1932. godine, gdje zagovornice ženskih prava na spisateljicu nisu ostavile osobit dojam svojim nastojanjima i borbama, ali ih doživljava kao izrazito sposobne i snažne ženske osobe.

Posljednji, šesti dio knjige donosi spisateljičinu oporuku naslovljenu „Mojoj djeci i mome bratu Željku“. Ta je oporuka sve osim klasične oporuke: u njoj spisateljica, na nekoliko stranica zapisanih u iznimno privatnim okolnostima, ponovno svjedoči o svojoj ljudskoj veličini, o superiornosti svojega uma i duha čija je nadmoć u službi i u duhu milosti i dobra, te o svojim pogledima na odgoj vlastite i tuđe djece.

S obzirom na to da su spisateljičini dnevnički i memoarski zapisi preneseni u izvornome obliku, gdje su putne bilješke i dnevnici isprepleteni s njezinim literarnim i duhovnim zapisima, molitvama, raznim filozofskim promišljanjima i opisima društvenih i političkih događaja, građa nudi ne samo povijesni uvid u spisateljičin život i vrijeme u kojemu je živjela, pa u tome smislu može poslužiti kao izvor za rekonstrukciju svakodnevnoga života onoga vremena, već odiše i životnošću njezine osobnosti, te može poslužiti za upoznavanje spisateljičine osobe i osobnosti i interpretaciju njezinih djela. Čitanjem građe može se dobiti uvid u mnoge spisateljičine osobne kvalitete, kao što je njezina svijest o samoj sebi: „Ja vidih prerano sviet; i drugi ga vide ali ga ne razumiju. Nu meni je Bog užasnu sposobnost razuma prerano dao: ja ga vidih i progledah“ (87; zapis iz ožujka 1889. godine).

Spisateljica nam se svojim najintimnijim zapisima „otkriva“ kao žena tradicionalna odgoja i nazora, koja se ni u čemu ne smatra inferiornom muškarcima, već smatra kako se muško i žensko nadopunjuju čineći sklad. Osim toga stava, građu prožimlju tri sastavnice spisateljičine osobnosti: domoljublje, promišljanja o smrti i vjera. Javljaju se od njezinih

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najranijih dnevničkih i literarnih zapisa. Ljubav prema domovini vrlo joj je važna; spisateljica je hrvatski domoljub i rodoljub, ne samo zbog snažna utjecaja obiteljskoga odgoja, već i zbog vlastitih stavova i uključenosti u društveni i politički život. Također od najranijih zapisa spisateljica promišlja o smrti i samoubojstvu kao osjetljiva mlada duša koja duboko promišlja o svemu. S njezinom se mladenačkom zanesenošću i nestalnošću na jedinstven način isprepliću filozofske misli o prolaznosti i mudrosti, a u svemu vidi Božju milost i prisutnost. Razne molitve, promišljanja o Bogu, zahvalnost, skrušenost i smjernost samo su neke značajke njezinih osobnih molitvi i čestih molitvi za bližnje i za pokojne.

Zaključno, Zapisci daju uvid u spisateljičinu najdublju intimu i otkrivaju fascinantan svijet njezinih misli i osjećaja. Važan je cjelovit uvid koji nam pružaju, koji je suprotan promatranju spisateljičina života kroz segmente nastale prikladnim seciranjem iz perspektive potreba pojedinih razmišljanja i izoliranih zaključaka donesenih iz prosude i osude u čijoj je biti nerazumijevanje veličine osobe koja je stavljena pred nas svojim djelima.

Ivana Milković

Die Herausbildung einer umfassenden „Theatralitätskompetenz“ Rudolf Denk und Thomas Möbius. 2017. Dramen- und Theaterdidaktik. Eine Einführung. Berlin: Erich Schmidt. 251 Seiten. ISBN 978-3-503-17005-0

DOI: 10.21066/carcl.libri.2017-06(01).0014

Die Notwendigkeit, eine Einführung in Dramen- und Theaterdidaktik zu schreiben, wie die beiden Autoren, Rudolf Denk und Thomas Möbius, in der Einleitung ihres Buches Dramen- und Theaterdidaktik. Eine Einführung feststellen, beruht vor allem auf der These, dass dramatische Texte „weder an Schulen noch an Hochschulen und Seminaren hoch im (Dis)kurs“ (9) stehen. Darüber hinaus bemerken die Autoren, dass sowohl Theaterbesuche als auch Analysen von Inszenierungen und Aufführungen noch weniger als Auseinandersetzungen mit dramatischen Texten im Unterricht eingegliedert sind. Von diesen Prämissen ausgehend, versuchen die Autoren die „deutliche Lücke im didaktischen Feld“ (10) zu füllen, indem sie neben einem Überblick über die Geschichte des europäischen Theaters und Dramas, traditionellen Elementen der Dramenanalyse und Theatersemiotik, didaktischen Konzepten der Dramenvermittlung und verschiedener Dramaturgiemodelle die Einsicht in „eine ‚andere‘, eine werkstattorientierte Dramendidaktik“ (10) vermitteln wollen. Dabei betonen die Autoren die enge Zusammengehörigkeit des dramatischen Textes mit seiner Realisierung auf der Bühne und behaupten, eine vollständige Theatralitätskompetenz könne nur in solchem Kontext entwickelt werden.

Diese 3. Auflage des Buches Dramen- und Theaterdidaktik. Eine Einführung, die durch einige Aspekte des postdramatischen und aktuellen Theaters sowie durch die Angaben über das traditionelle Kinder- und Jugendtheater erweitert worden ist, besteht aus sieben thematischen Kapiteln, einem Glossar, einem dreiteiligen Literaturverzeichnis (Primärtexte, Forschungsliteratur zur Dramenvermittlung, Forschungsliteratur zu Drama/Theater und weitere themenbezogene Literatur) sowie einem Namen- und Werkregister.

Im ersten Kapitel werden die wichtigsten Ziele und Grundgedanken jedes Kapitels kurz festgelegt, wobei sich die Autoren auf Aristoteles, Goethe, Brecht, Szondi, Hegel,

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Barthes und Bentley beziehen, um die wichtigsten Begriffe einzuführen und zu definieren. Am Ende dieses Kapitels wird hervorgehoben, dass „die kulturellen Phänomene ‚Drama‘ und ‚Theater‘“ (23) in der fachdidaktischen Literatur „stiefmütterlich behandelt“ (23) werden und geben eine Auswahl von Werken/Beiträgen, worin man sich bis zu einem gewissen Maße über Dramen- und Literaturdidaktik informieren kann.

Diachrone und synchrone Spurensuchen werden im zweiten Kapitel unter dem Titel „Grundlegende Strukturen“ dargestellt. Unter diachroner Spurensuche versteht man eine Übersicht über die Entwicklung von Drama und Theater in Europa – von der griechischen Antike bis zum postdramatischen und aktuellen Theater. In die diachrone Spurensuche werden auch die wichtigsten Autoren sowie die Entwicklung des traditionellen Kinder- und Jugendtheaters im deutschsprachigen Raum einbezogen. Die Autoren wollen zeigen, dass Drama und Theater nicht unabhängig vom soziopolitischen und kulturellen Kontext, in dem sie betrachtet werden, analysiert werden können. Die bedeutendsten Dramatiker mit ihren dramatischen Texten, Theaterregisseure, Theaterhäuser, Bühnen- und Theaterraumkonzepte und die dominanten Dramen- und Theaterpoetiken − wobei das Porträtieren der deutschsprachigen Theaterlandschaft eine dominante Rolle spielt − werden in diesem Kapitel dargelegt und geschildert. Da die Autoren auch das Publikum als einen wichtigen Bestandteil des Theatralischen anerkennen, legen sie besonderen Wert auf „das Spannungsverhältnis zwischen Publikum und Akteuren“ (24), Publikum und „Schau-Ort“, „Schau-Platz“ und „Schau-Raum“, wobei „unterschiedliche emotionale und kognitive Rezeptionshaltungen des Publikums“ (25) zu fordern sind.

Innerhalb der synchronen Spurensuche wird der Fokus auf „traditionelle Elemente der Dramenanalyse und Entwürfe einer Theatersemiotik“ (76) gelegt. Als Ausgangspunkt für eine traditionelle literarische Analyse des dramatischen Textes dient „d[ie] berühmte aristotelische Bestimmung der Tragödie“ (88), die sechs Bestandelemente des klassischen Dramas: mythos, ethe, lexis, dianoia, opsis und melos, sowie „[d]as klassizistische Prinzip der drei Einheiten“ (77) – Einheit des Ortes, der Zeit und der Handlung. Ausgehend von diesen Prinzipien werden Konzepte wie Handlung und Fiktionalitätsillusion, Handlungslogik, Handlungsdarbietung, Handlungstypen, Handlungsgliederung, Figur, Person, Charakter, Zeit- und Raumkomponente der dramatischen Handlung, „Informationsvermittlung“ und die „Arten der Kommunikation im Drama“ (84) formuliert.

Im Gegensatz zu der traditionellen literarischen Dramenanalyse wird von den Autoren insbesondere die Theatersemiotik aus der zweiten Hälfte des 20. Jahrhunderts untersucht. Ausgehend von Erika Fischer-Lichtes Formulierungen der Theaterzeichen in Semiotik des Theaters betrachten die Autoren die Inszenierung nicht als eine „intersemiotische Übersetzung des dramatischen Textes“, sondern als „eine multimediale Textur, die mit unterschiedlichen Medien wie Film, Ton, Schrift, Bild, Schauspieler und Bühne kommuniziert wird“ (86).

Im dritten Kapitel werden verschiedene didaktische Konzepte der Dramenvermittlung diachron – vor 1945 und bis 2016 – dargestellt. Die Autoren weisen darauf hin, wie unterschiedliche soziale, politische und kulturelle Bedingungen sowie dominante Weltanschauungen die Lektüre, die in der Schule gelesen wird, und die Ziele, mit welchen sie gelesen wird, beeinflussen können. Während die didaktische Dramenvermittlung vor 1945 meistens „moralisch-erzieherische“ (89) Ziele verfolgt und der sowohl individuellen

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als auch nationalen Bildung dient, beruhen die didaktischen Dramenvermittlungskonzepte nach 1945 auf der Gattungslehre, den Konzepten des darstellenden Spiels, den szenischen Verfahren, der aufführungsbezogenen Lektüre sowie auf theaterpädagogischen und produktionsorientierten Ansätzen. Ausgehend von der Gattungslehre formulieren die Autoren das Konzept des Spiralcurriculums, nach dem zuerst einfachere und allmählich komplexere dramatische Texte im Unterricht eingeführt werden sollten. Spiralcurriculum kann auch Dramenausschnitte wie einzelne Monologe, Dialoge und Ähnliches beinhalten, die den Lernenden ermöglichen, „dramatische Gestaltungsmöglichkeiten in anderen Stücken wiederzufinden“ (95). Da behauptet wird, dass der dramatische Text ohne seine Inszenierung unvollständig bleibt, erkennen die Autoren den didaktischen Ansatz der Dramenvermittlung nicht nur in der literarischen Beschäftigung mit dem dramatischen Text, sondern auch in seiner Inszenierung an. Wenn Lernende an einem dramatischen Text arbeiten oder eigene dramatische Texte verfassen, entwerfen sie zuerst ihre eigenen „inneren Bühnen“ und „mentalen Inszenierungen“, die in Zusammenarbeit mit Publikum vermittelt werden. Ferner wird behauptet, dass im inszenierungs- und produktionsorientierten Prozess „neben kreative[n] und intellektuelle[n] vor allem auch soziale und kooperative Anstrengungen [erfordert werden]“ (103).

Im vierten Kapitel wollen die Autoren zeigen, dass dramatische und theatralische Zeichen auch in didaktischer Sicht eng verbunden sind. Mit Hilfe der Abbildungen 12 (Emotionsskizze) und 13 (Überblick über die Zusammenhänge von dramatischen und theatralischen Zeichen) sowie der Tabellen 2−4, in denen die Raumzeichen, ikonische, sprachliche und nicht-sprachliche Zeichen sowie die Erscheinung und Tätigkeit der Schauspieler dargestellt werden, wird auch visuell vorgestellt, was unter dramatischen und theatralischen Zeichen zu verstehen ist und wie dramatische Zeichen, die sowohl im Haupttext (Monologe und Dialoge) als auch im Nebentext (Regieanweisungen) vorkommen, auf der Bühne realisiert werden können. Ferner wird darauf hingewiesen, wie verschiedene theatralische Zeichen, einmal von Zuschauern dekodiert, zur Bildung diverser Perspektiven auf dramatische Texte beitragen.

Im fünften Kapitel konfrontieren die Autoren die Leser mit unterschiedlichen dramatischen Texten meistens deutschsprachiger Autoren, um anhand dessen vier Dramaturgiemodelle vorzustellen. Vor der näheren Beschreibung der vier Dramaturgiemodelle definieren die Autoren Begriffe wie Dramaturgie und Dramaturg und schlagen vor, zuerst Dramentitel, Untertitel und Genrebezeichnungen des Stückes aus didaktischer Perspektive in Betracht zu ziehen. Das bedeutet, man sollte die dramaturgische Analyse des Stückes mit Fragen wie „Welche Erwartungen weckt der Titel/Untertitel?“ oder „Worauf bezieht sich die Gattungs-/Genrebezeichnung?“ (156) anfangen. Das Dramaturgiemodell I bezieht sich auf expositionelles Denken, auf zielorientierte Dramaturgie und auf den pyramidalen Aufbau der klassischen Stücke, die in fünf Akten gegliedert sind. Das Dramaturgiemodell II schließt verschiedene Stufen des Komischen und Absurden ein, wobei die Stationendramaturgie am Beispiel von Nestroys Der Talisman, das Dramaturgie-Karussell am Beispiel von Schnitzlers Reigen bzw. Brechts Mutter Courage und ihre Kinder, die Dramaturgie der Zeit und der Zeitlosigkeit (Warten) am Beispiel von Becketts Warten auf Godot und die Spiral-Dramaturgie am Beispiel von Ionescos Nashörner analytisch dokumentiert werden.

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Das Dramaturgiemodell III beschreiben die Autoren ausgehend von Büchners Woyzeck und zeigen, wie sich die Dramaturgie der Fragmentierung mit einigen Modifikationen in Hauptmanns Vor Sonnenaufgang und Die Weber sowie in Wedekinds Frühlings Erwachen. Eine Kindertragödie entwickelt bzw. dieses Dramaturgiemodell die offene Dramenformen weiter radikalisiert. Das Dramaturgiemodell IV beruht auf dramatischen Texten, welche der Poetik der Postdramatik und der Neodramatik entsprechen. Es sind Stücke, die eine andere Textkomposition besitzen und die sich auch wesentlich von der Dramaturgie der Fragmentierung wie in den Werken von Büchner oder Hauptmann unterscheiden. Zum Dramaturgiemodell IV gehören dramatische Texte von Heiner Müller, Thomas Bernhard oder „Textflächen“ (150) von Elfriede Jelinek. Die Autoren weisen darauf hin, dass die Bearbeitung solcher Texte ihrer Struktur wegen im Unterricht meistens vermieden wird. Dennoch erblicken die Autoren auch in postdramatischen Texten ein didaktisches Potenzial. Um zu zeigen, wie man die Texte der Post- und Neudramatik den Lernenden näherbringen könnte, machen die Autoren am Ende des fünften Kapitels am Beispiel von Richters Electronic City − unsere Art zu leben (2003) einige Vorschläge, wie auch diese dramatischen Texte in den Unterricht zu integrieren sind.

Die dargestellten didaktischen Konzepte des Dramatischen, Theatralischen und Dramaturgischen sollten nicht zuletzt in einer Theaterwerkstatt realisiert werden, weshalb die Autoren im sechsten Kapitel Hinweise vermitteln, wie man eine Theaterwerkstatt didaktisch konzipieren könnte. Der erste Schritt wäre der Entwurf einer Figurenwerkstatt, in deren Rahmen Figuren, ihre Motivation, ihre Charakterzüge, Verhaltensweisen und Aussehen sowie Ähnliches zu analysieren wäre. Ausgehend von Figurenkonzepten und Figurentypologien sind ferner die Rollen unter den am Inszenierungsprozess Beteiligten zu verteilen. Wie man eine Figur skizzieren kann, zeigen die Autoren am Beispiel der mythischen Medea-Figur, die als Figur seit der griechischen Antike in unterschiedlichen Variationen vorkommt – so in Euripides Medea, Lessings Miss Sara Sampson, Grillparzers Trilogie Das goldene Vlies, Müllers Medeas Verkommenes Ufer Medeamaterial Landschaft mit Argonauten oder in Lohers Manhattan Medea. Anhand einer solchen Figurenwerkstatt wäre den Lernenden zu zeigen, was man mit einer Figur innerhalb der literarischen Produktion tun und wie man unterschiedliche dramatische Texte vergleichen und analysieren kann.

Die nächste Ebene der Theaterwerkstatt wäre die Regiewerkstatt. Hier sind unterschiedliche Kenntnisse und Fertigkeiten zu erwerben, anhand deren die Lernenden im Stande sein sollten, Unterschiede zwischen Aufführung und Inszenierung zu bestimmen, Aufführungen und Inszenierungen zu analysieren, verschiedene Regiekonzepte zu erkennen, zu unterscheiden und zu beschreiben, was die Autoren am Beispiel drei verschiedener Regiefassungen und Inszenierungen von Goethes Torquato Tasso demonstrieren. Weiterhin hätten die Lernenden eigene Regiebücher, Raumkonzepte, Programmhefte zu verfassen, Theaterrezensionen zu analysieren oder eigene Theaterkritiken und Theaterrezensionen zu entwerfen.

Im letzten, siebten Kapitel werden Bewertungsfragen und Bewertungsverfahren zu schriftlichen und mündlichen Formen der Anschlusskommunikation entworfen, die sich „aus einer produkt-, prozess- und/oder funktionsorientierten Bewertungsrichtung betrachten“ (212) lassen. Als schriftliche Formen der Anschlusskommunikation werden Schreiben eines Regiebuches, eines inneren Monologes oder eines Portfolios, einer

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Skizze eines Bühnenbildes oder Raumkonzeptes, eines Aufsatzes über einen dramatischen Text, einer Theaterrezension oder eines Textes aus der Perspektive einer Figur oder einer Requisite empfohlen. Als Beispiele für die mündliche Form wird die Vorbereitung eines Unterrichtsgesprächs über eine Aufführung/Inszenierung oder über eine szenische Umsetzung dargeboten. Obwohl einige Elemente, die in einer bestimmten schriftlichen oder mündlichen Aktivität bewertet werden können, genannt werden, heben die Autoren hervor, dass unter Bewertung der dramatischen, theatralischen und dramaturgischen Kompetenz „keine Bewertungsrezeptologie gemeint [ist]; sie ist kaum leistbar und schlechterdings unbrauchbar, da sie individuelle Unterrichtsprozesse nicht abbilden kann“ (209). Es ist wichtig zu verstehen, dass „einzelne Konkretisierungen keinesfalls normativ zu verstehen [sind]; vielmehr sind sie jeweils an die eigene konkrete Unterrichtssituation anzupassen“ (209). Was jedoch wichtiger als das Bewertungsverfahren selbst sein sollte, ist das übergeordnete Lernziel, das „daran erinnert, Dramatisches und Theatralisches stets zusammen zu denken“ (221) und „den Lernenden zum Schau-Meister zu bilden, so dass er in Inszenierungskategorien lesen und verstehen lernt“ (209).

Das Buch Dramen- und Theaterdidaktik. Eine Einführung von Rudolf Denk und Thomas Möbius setzt sich aus didaktischer Sicht mit verschiedenen Aspekten und Konzepten des Dramatischen, Theatralischen und Dramaturgischen auseinander, „die in eine didaktische Theaterwerkstatt münden, [und] an der Pädagogischen Hochschule Freiburg entwickelt und erprobt [wurden]“ (11). Die sieben Kapitel, in denen man einen prägnanten Überblick über die Dramen- und Theatergeschichte Europas, Gegenwartsdramatik, Entwicklung des Kinder- und Jugendtheaters, Dramenanalyse und Theatersemiotik sowie über die didaktischen Konzepte der Dramenvermittlung und unterschiedliche Dramaturgie- und Regiemodelle vermittelt bekommt, erweitern die bisherigen Erkenntnisse über die Problematik der Dramen- und Theaterdidaktik. Obwohl der Schwerpunkt dieser Einführung mehr auf der schriftlichen und mündlichen Analyse sowie auf der Beschäftigung mit dramatischen Texten und Inszenierungen als auf konkreten praktischen Aspekten des Theatralischen im Unterricht liegt, eignet sich diese Einführung als ein didaktisches Buch und Hilfsmittel sowohl für Lehrkräfte und Lernende, die sich zum ersten Mal mit der Problematik der Dramen- oder Theaterdidaktik beschäftigen, als auch für diejenigen, die ihre bisherigen Kenntnisse und ihr Sachwissen über Drama und Theater zu ergänzen und zu bereichern gedenken.

Katarina Žeravica

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